Friday, January 29, 2010

"For some reason I can't help but think that if this were a crummy homemade cassette I'd be going apeshit over it. This doesn't sound like it should be a record--it's got that two guys in a basement with a drum machine and tape recorder vibe to it. What this really brings to mind is industrial music circa 1982: disregard for rock structures, big mean noise, shitty fake drums, overwrought delivery, and not much in the way of audio fidelity. Miles better than the first White Boy record, but still nowhere near what they were capable of at their peak."

Thursday, January 28, 2010

Their music touched on elements of punk rock, psychedelic, heavy metal music and noise rock with a heavy dose of performance art. Their name has sometimes thought to have came from a Godzilla movie, but it could also have come from a comic book with the same title. They described their music as "anti-rock."

Destroy All Monsters never found mainstream success, but earned some notoriety due to members of notable rock groups The Stooges and MC5 who joined the group.

Although Destroy All Monsters never recorded a proper album, Sonic Youth singer/guitarist Thurston Moore released a three compact disc compilation of the group's music in 1994.

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Early years

Formed in 1973, the first edition of Destroy All Monsters was formed by University of Michigan art students Mike Kelley, Jim Shaw, Niagara and filmmaker Cary Loren. They performed in the Ann Arbor area from 1973-1976, and their only release was a one-hour cassette of their recordings available only through Lightworks magazine. Their early music was Influenced by Sun Ra, Velvet Underground, ESP-Disk, monster movies, beat culture and futurism' their sound was experimental, psychedelic, darkly humorous and droning.

On New Year's Eve of 1973, the first Destroy All Monsters concert was held at a comic book convention in Ann Arbor, Michigan. At the time the instruments were a violin, a sax, a vacuum cleaner and a coffee can. They performed a demented version of Black Sabbath's "Iron Man" and were asked to leave after ten minutes. The group performed "Guerilla Style" setting up for free at parties, playing for food along Ann Arbor's frat row. They used modified instruments, a drum box, tape loops, hot-wired toys, cheap keyboards and broken electronic devices. The only formal gig they had (beside the comic convention) was at the Halloween Ball at the University of Michigan art school in 1976.

Kelley and Shaw left the band during the summer of 1976 to attend graduate school at CalArts in Los Angeles, California. Both have gone on to lead successful solo careers in the art world. Their work is held in major collections around the world.

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New Personnel

In 1977, Niagara and Loren recruited guitarist Laurence B. (Larry) Miller and saxophonist Benjamin (Ben) Miller; both had been in the short-lived Sproton Layer with their brother Roger Miller (who later went on to found Mission of Burma). They invited Mike (Jett) Powers on bass but he soon left for Harvard University. Not long after, members of two important Detroit-based groups signed on: guitarist Ron Asheton, earlier of The Stooges, and bass guitarist Michael Davis of the MC5. Their presence garnered the group more attention than ever before. Shortly thereafter, Ron asked drummer Rob King to join the band.

In 1978, Destroy All Monsters were preparing to release "Bored", their first official recording, when the group began to fall apart. Niagara ended her romance with Loren in favor of a new relationship with Asheton; Loren quit the group, with the Miller brothers leaving after the band's Halloween gig at EMU, in 1978. The "Bored"/"You’re Gonna Die" single earned some attention in the UK music press[1], but the band was able to capitalize on the notoriety, and spent many years riding the punk/new wave era. They formed an alliance with the Ramones, The Dead Boys, and Pere Ubu, all seminal punk bands. They would tour together and open for each other in their respective home towns. This punk version of DAM disbanded in 1985.

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Later developments and reunion

In late 1978, Loren issued a live DAM EP known as "Days of Diamonds" on his Black Hole label. Another EP followed in 1979, "Blackout in the City" under the name XANADU with the Miller Brothers, Loren and Rob King. Niagara and Ron Asheton carried on with various personnel releasing a total of three 7" singles on the IDBI label before ending the group in 1985. The Asheton singles were released by Cherry Red Records on CD.

The original lineup (Kelley, Loren, Niagara and Shaw) reformed for reunion shows in 1995. Loren republished the six issues of the Destroy All Monsters Magazine (1976-1979) with added DAM student artwork, flexi disc and history in the book DESTROY ALL MONSTERS:GEISHA THIS -- four VHS tapes of DAM films were also issued. An exhibition of their artwork followed at the Book Beat Gallery as well as live performances in Detroit, Los Angeles and San Diego. A live "CD, Silver Wedding Anniversary" resulted from these concerts and was released in 1996 on the Sympathy for the Record Industry label.

In 1996, the group (sans Niagara) performed in Tokyo and Osaka, Japan. A display of DAM artwork was held at the Deep Gallery in Tokyo. At the invitation of Ben Schot and Ronald Cornelissen for the "I Rip You, You Rip Me" festival and seminar at the Boijman's Museum in Rotterdam, DAM began work on the installation and film known as Strange Früt: Rock Apochrypha an investigation of Detroit culture. This exhibition was shown and completed in 2000 at COCA (Center on Contemporary Art) in Seattle, WA., and in 2001 at the DAM Collective: Artists Take On Detroit at the Detroit Institute of Arts. This work was also selected for inclusion in the 2002 Whitney Biennial of Art in NYC.

In 2006, the "Strange Früt" exhibition and the bands archives traveled to the Magasin Center for Contemporary Art in Grenoble, France. DAM performed at the "All Tomorrow's Parties" festivals in Los Angeles as guest artists of Sonic Youth, and in London, UK as guest artists selected by Dino and Jake Chapman. A selection of the band's archives is on exhibition as part of the "Theater Without Theater" show at MACBA in Barcelona, Spain opening May 25 2007. The exhibit will travel to Lisbon, Spain in the fall.

Since 1995, the band has released five full length CDs on their own label(s) [The End is Here]: Radio Teardrop 1996, Backyard Monster Tube and Pig 1998, Swamp Gas 2001, and on [Compound Annex]: Detroit Oratorio 2003, DAM: Live in Tokyo 2003.

A reprint of first six issues of DAM Magazine with added band artwork, history, and a flexi disc was published by Book Beat in 1995 as Destroy All Monsters: Geisha This, and was reprinted in three different editions. A DVD of selected DAM films was released in 2007 by MVD video as: "Grow Live Monsters" featuring early 8mm & 16mm films taken in 1971-1976.

In 2009 the Printed Matter bookstore in NYC mounted an exhibit Hungry for Death featuring the group's collected work. The exhibition toured to White Flag Projects in St Louis, 0047 in Oslo and in 2010 will culminate at SPACE, London. To coincide Printed Matter released a 1975 recording Double Sextet as a vinyl album. They also re-released the Destroy All Monsters: 1974 - 1976 compilation, without booklet, in a limited edition of 1000

Monday, January 25, 2010

23 Skidoo are a British band playing a fusion of industrial, post-punk, alternative dance, rock, and world music. The group was named after a mysterious Illuminati phrase that appeared in the work of Aleister Crowley, William S. Burroughs, and filmmaker Julian Biggs.

Formed in 1979 by Fritz Catlin, Johnny Turnbull and Sam Mills, and later augmented by Alex Turnbull and Tom Heslop, 23 Skidoo had interests in martial arts, Burundi and Kodo drumming, Fela Kuti, The Last Poets, William Burroughs, as well as the emerging confluence of industrial, post-punk and funk, heard in artists such as A Certain Ratio, Throbbing Gristle, Cabaret Voltaire, The Pop Group and This Heat.

Their first 7", "Ethics" was released in 1980, followed by the "Last Words" 7", produced by Stephen Mallinder and Richard H. Kirk from Cabaret Voltaire. A Peel Session was recorded on September 16, 1981 that included Richard. Their debut album, Seven Songs, was released in 1982 and is said to evoke the claustrophobic humidity of an African forest. The Tearing Up The Plans EP followed, with the absence on the Turnbull brothers, who were traveling through Indonesia. Guitarist Sam Mills and vocalist Tom Heslop left the band soon after, and with the arrival of slap-bassist David "Sketch" Martin following the break-up of Linx, the lineup remained the same until their disintegration in 2003.

With the Turnbull brothers back from Indonesia where they were exposed to Gamelan, the band recruited Aswad's horn section for the "Coup" 12", which featured samples from Francis Ford Coppola's Apocalypse Now. It has been alleged that The Chemical Brothers stole the bass line for their "Block Rockin' Beats" track. The Culling Is Coming (1983 - noted for featuring the band live at the first WOMAD Festival) and Urban Gamelan (1984) followed, criticized at the time for their shift towards more abstract sounds. After having been evicted from their rehearsal space at Genesis P-Orridge's 'Death Factory' the band shifted their focus towards hip hop and released a few singles and a compilation album Just Like Everybody in 1987.

In 1989 the Turnbull brothers formed the Ronin label, and released material by Deckwrecka, Roots Manuva, and Rodney P amongst others. They signed to Virgin Records in 1991 and were able to build a new studio with their advance. In 2000 they released a self-titled LP, which featured contributions from Pharoah Sanders and Roots Manuva. This was followed by a compilation of singles, The Gospel Comes To New Guinea in 2002, and for the first time on CD, reissues of Seven Songs and Urban Gamelan. In 2003 the Turnbull brothers liquidated the company. Fritz Catlin has a new project called Skintologists which you can preview at www.myspace.com/hashashan